Not all B-movies are relegated to automatic mediocrity or downright awfulness. While The Black Scorpion left a lot to be desired, Kronos, on the other hand, seems to showcase what a more competent and clear-headed, low-budget film can accomplish. It still has its flaws of course – what B-movie doesn’t? – but it masks them rather well for an intriguing story.

Part of what makes Kronos works is the lack of explanation for a large part of the film. Weird stuff happens, strange things are witnessed, characters act oddly – but by not over explaining them, there’s a better overall sense of tension developed. Also, the need for a sexualized female is competently done, even if the typical “swimming on the beach” scene is bluntly out of place.

An alien “spirit” arrives in the midst of a desert and possesses an innocent person, who manages to break into an astronomy lab and possess Hubbell Elliot, a scientist who works there. He uses long-distance telepathy to communicate to a huge, monstrous, metal spacecraft, which crashed into the Pacific near Mexico. It sucks and absorbs all the energy thrown at it, and even drains a power plant dry of its energy. Fellow scientist Leslie Gaskell and his partner Vera Hunter has to figure out how to stop the mechanical beast as well as stop the possessed scientist from completing his plan.

The special effects unfortunately do not live up to the quality that one would expect from films of this time period. The budget was cut right before filming began. Yet given what they were stuck with, one still might be mildly impressed. The Kronos design is simplistic enough, and it took me a while to realize that the generic box-like shape with the odd-looking antennae was supposed to be a battery. Still, a little more creativity for some visual appeal wouldn’t hurt. What’s way off, however, is how the machine moves. Four up-and-down poles pump like pistons work around a spinning drill-like device somehow creates motion, which is just impossible. (The use of animation for the long shots of Kronos is even worse).

Speaking of which, I don’t know much about science or power, so it’s interesting to see the plot delve somewhat deeply into pseudo-scientific explanations to progress itself. The actors and writing definitely assist to clarify what audiences wouldn’t understand. But even with the mumbo-jumbo, it still seems rather far-fetched, just a number of random words to confuse the viewer to make it seem like they know what they’re doing.

It works though; as mentioned earlier, the film is very intriguing by controlling out plot points are divulged. In addition, actor John Emery is quite good (in the haming-it-up sense), playing the possessed scientist, struggling to maintain his humanity as the alien inside forces him to do his long-distance bidding. In fact, I personally thought his were the best scenes in the movie.

Also impressive is the surprisingly pro-environmentalist, anti-atomic weaponry commentary throughout the script. While nothing too much on the nose or overly overt, there are a few moments, a few key lines that question America’s excessive consumption of energy and power (is Kronos essentially us, making America our own enemy?), and the quick-to-jump trigger finger hovering over the button to launch nuclear weapons. Instead of using such power against those enemies, which will only strike back, perhaps it would be better to use that power to benefit our own people. It suggests this, anyway.

Kronos is certainly one of the better sci-fi B-films from the 50s, and with its short running time, it’s a good one to sit and enjoy, especially with Neumann’s steady handle on the material and direction. If you’re looking for a good one that represents the average-made sci-fi 50s film – the “Fifth Element” of the 50s – Kronos is for you.

From the 1980’s comes one of the most famous crossovers in history. Elroy Jetson is working on a time machine which the family wish to use to holiday in the 25th century, but an accident sends them hurtling into the distant past where they meet up with the Flintstones.

REVIEW:

From the 1980’s comes one of the most famous crossovers in history. Elroy Jetson is working on a time machine which the family wish to use to holiday in the 25th century, but an accident sends them hurtling into the distant past where they meet up with the Flintstones.

This was one of those inevitable crossovers that just had to happen otherwise, the individual franchises would have to have come up with a new idea. Just like ‘Alien vs Predator’ or ‘Freddie vs Jason’ or even ‘Archie Meets the Punisher’ (which did happen, look it up!) there are some positives and some negatives to this crossover.

Admittedly this film isn’t one of those childhood cartoon films that we all remember, it is probably less memorable than even ‘The Jetsons: The Movie’. But it’s still a good children’s film and you should show it to your kids.

Being a Hanna-Barbera production the animation is pretty damn good, as is the storyline and dialogue. Technically this is a fairly flawless film; there are a few goofs here and there, but nothing worse than most other straight-to-video cartoon films. However being technically flawless does not make a children’s film great.

The plot is great in its simplicity, Elroy Jetson is building a time machine for a school science project, whilst the rest of the family have their own problems, George is fed up with Mr. Spacely telling him what to do and Judy Jetson is upset because she has just broken up with her rock star boyfriend. So the family decides to use the time machine to go on a vacation to the 25th century.

Meanwhile (for want of a better term) in the distant prehistoric past and in a little town called Bedrock; Wilma Flintstone and Betty Rubble are trying to convince Fred and Barney to take them on a vacation to Honolourock. Fred and Barney plan to go on an even better vacation after they win a game of poker. This back fires of course when not only do they lose their money to their boss; they also wind up getting fired.

The Flintstones and Rubbles now have to vacation in the middle of nowhere at the “same” “time” as the Jetsons are just about to travel in time. Just as the Jetsons are set to take off, Astros tail knocks a lever, changing the setting on the time machine from ‘Past’ to ‘Future’. Fred and Barney are setting up the camp just as the Jetsons appear in their time machine.

After some initial mistaking each other for aliens, the two groups become fast friends and even end up working together. The majority of the film then deals with the Flintstones and Jetsons swapping places in time, Fred becoming famous in the future for being a caveman and George being useful in the past with all his futuristic machines.

There are a lot of family style laughs and it generally is an enjoyable film, but it doesn’t really stand up to the test of time. Really young children would like it but it doesn’t hold the same kind of nostalgic love screen up in front of your eyes that other 80’s cartoon movies seem to have.